The title of the album was suggested by Daversa’s daughter, who also supplied the album art. This resulted from her listening to the title track (track 5), which has a Cuban vibe that wouldn’t have been out of place on a classic ‘50s recording. There is much love for the tradition of jazz music in these compositions, coupled with a deep knowledge of the structure of classic tunes. o, Parker’s ‘Donna Lee’ (track 2), played at a sedate pace here, does not sound out of place, or in company that it wouldn’t want to keep. The band a tune that is well known as a staple of the bop canon and mischievously tune into a Cool anthem – which, I guess, shows Deversa’s sense of humour and open-minded attitude to music.

This is not to say that the band cut it up – the opener, ‘Ms Turkey’ is a barn-storming, full-throttle masterclass that mixes bop and boogie-woogie. Throughout the set you hear some great musicians having a blast and a laugh. I liked the way that the tune 'Jazz Heads' has a simple descending bass riff that sounds like it should come from incidental music in a TV sitcom, but still develops into a nicely balanced tune with some great trumpet playing. The bands enthusiasm is so infectious that you could miss the quality of the musicianship. This would be a shame, given that Daversa has been nominated for a Grammy for his trumpet playing, or that he is joined by a saxophonist of Mintzer’s stature. What is also intriguing is the ease with which Mintzer and Daversa can switch from the conventional instruments to the Electronic Voice and Wind Instruments that they use on some of the tracks. These gives the pieces a haunting feel, as if we’re hearing jazz beamed back from the future – which given the history of these players would be place this album neatly at the intersection between the past and future of jazz.